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SPATULA PUBLISHING CO.. 

CQ Sudbury Building, Boston, Mass. 





CHARLES A. MILLER 



HOW TO MAKE SHOW 
CARDS 



A practical treatise on the fundamental 

principles of artistic lettering with 

pen and brush for the use of 

retail merchants and 

their clerks. 

BY 

CHARLES A. MILLER 



WITH AN APPENDIX 

Giving numerous practical illustrations of work that 

may be done by marking and shading pens and 

brushes, with explanations and directions. 

BY 

W. A. THOMPSON 



SECOND EDITION 



THE SPATULA PUBLISHING CO. 
BOSTON, MASSACHUSETTS, U.S.A. 



. M 



Copyright, 191 1, 1916, by Spatula Publishing Co. 



/ 






OC/.A4'J 

SEP -2 1916 



ATUL» PRESS 
BOSTON 







TABLE OF CONTENTS. 



CHAPTER I. 

Genius Not Required. — Multiplicity of books on sub 
ject — All different from this — The art may be acquired 
by almost anyone — The author's experience — The value 
of show card writing — Reasonable practice. 

CHAPTER II. 

Free Hand Work. — Ease with which skill in free hand 
work may be acquired — Methods of holding tools — Why 
professionals say " It's dead easy" — The use of imagina- 
tion — Guide lines soon discarded. 



CHAPTER III. 

Necessary Tools. — The better the workman the fewer 
tools — What brushes to buy — How to tell a good brush 
— The importance of taking good care of tools — Brush 
" Dont's" — Show card paint — How to mix paint — How 
to use paint. 



6 TABLE OF CONTENTS. 

CHAPTER IV. 

Practice, Principles and Pencils. — Surprising results 
obtained through practice — Constructive principles elu- 
cidated by monograms — Importance of drawing board 
and T square — The necessity of practicing curves, parallel 
and oblique lines — Pencil outlining. 

CHAPTER V. 

Practise Strokes. — How to outline letters with light 
pencil strokes — Table showing various strokes composing 
letters — Use of the round writing pens — Perfect circles 
not necessary — How to make them — A "secret "of the 
art. 

CHAPTER VI. 

Geometry of Letters.— Relation of capital letters to 
each other — All except three drawn in same sized rectan- 
gle — Letters grouped into five classes — Correspondence 
courses — Use of monograms — I, L, F, E, H, T, V, A and 
Z analyzed. 

CHAPTER VII. 

Geometry of Letters, Continued. — Analysis by mono- 
gram of the letters X, Y, N and K — The rounded letters 
— Peculiarities of O, C, G, Q, P, B, D, J, U, R, S, M and 
W — The characteristics of punctuation points and how to 
make them. 

CHAPTER VIII. 

Geometry of Letters, Concluded. — The peculiarities 
of numerals — Easy to make with practice — The ten digits 
analyzed — The ampersand the most difficult character — 
Just how to make it — How the expert obtains pleasing 
results. 

CHAPTER IX. 

Round Writing Pen Practice.— The best method to 
gain proficiency in the use of the round writing pen — 
Purposes for which it may be used — Unsurpassed for 
making small card signs for interior of show cases, etc. 



TABLE OF CONTENTS. 7 

CHAPTER X. 

Simple Forms of Lettering and How to Outline. — 
The Alphabet divided into Groups — i, Letters composed 
entirely of straight lines and right angles — 2, Letters com- 
posed wholly of oblique lines — 3, Letters combining verti- 
cal, horizontal and oblique lines — 4, Letters composed of 
combined straight and curved lines — 5, Letters composed 
of curved lines. 

CHAPTER XI. 

Single Stroke Letters. — Mostly used where cards are 
frequently changed — The easiest letters to make are these 

— The differences between lower and upper case letters — 
Value of practice in making single stroke letters. 

CHAPTER XII. 

Layout and Spacing. — General principle of the layout — 
A concrete example showing how a 7 x 11 card should be 
arranged — Space required by the different letters — The 
Mental Conception — Facts, not " tricks of the trade." 

CHAPTER XIII. 

Inks and Paints. — Ready-to use paints — How to mix 
your own paints — Foundations of black and white paints 

— Formulas for numbers of useful mixtures — Dry and 
Moist Colors — Waterproof ink — Paints for oil cloth — 
White ink. 

CHAPTER XIV. 

Primary and Secondary Colors —The three primary 
colors — How to produce secondary colors — Harmony 
of Colors — Two color combinations — Three color com- 
binations — How to mix colors — Test of colors and their 
analysis. 



8 TABLE OF CONTENTS. 

CHAPTER XV. 

Bronze, Flitter, Smalt, Etc.— The use of bronze,Iflitter, 
smalt and flock — What they are and how they may be 
applied — Should be used with judgment — The use of 
chalk — Easily removed. 

CHAPTER XVI. 

Hints for the Show Card Writer.— The] importance 
of a good scrap book — Uses that may be made of col- 
lected letters and pictures — Borders and; edge lines|— 
Use of the atomizer— The drawing board, etc. 

CHAPTER XVII. 

Catch Phrases. — A collection of scores of ready ;made 
legends that may be used to advantage on show-cards — 
Scintillating sentences that awaken curiosity and stimulate 
trade. 

APPENDIX. 

Full page and smaller illustrations, practical work that 
may be done by marking and shading?pens~and brushes, 
with explanations and directions. 




HOW TO MAKE SHOW CARDS. 




CHAPTER I. 
GENIUS NOT REQUIRED. 

Multiplicity of books on subject — All different from this — 
The art may be acquired by almost anyone — The author's 
experience — The value of show card writing — Reason- 
able practice. 




HE temerity attending the taking up of the 
r, subject of Show Card Writing with the idea 
of presenting it in a clearer and more prac- 
tical way, may call for explanations. Books and 
examples of artistic skill, there are galore, denoting 
ability in execution greatly exceeding my own. The 
majority of them sail away into a realm that is be- 
yond the every day practical use of the small mer- 
chant. Those which attempt to enter this domain 
fail to make clear the fundamental principles and 
basic facts which are so essential an aid in the ready 
and quick construction of neat and simple lettering 
to meet the requirements of a busy merchant. 



10 HOW TO MAKE SHOW CARDS. 

My own practical experience along the iden- 
tical path which the small merchant travels, and my 
visits to thousands of retail stores have familiarized 
me with many facts that lead me to the gap which 
greater ability, or lack of information regarding 
requirements, has failed to close. 

Many think that only an artist can produce 
commendable results in card writing. Any one 
who once masters the principles upon which the 
letters, figures and punctuations are formed and 
becomes acquainted with the " tricks of the trade " 
can successfully produce card signs in which he may 
well take pride. 

Quality depends upon skill in acquiring control 
of pen or brush, which is well within the reach of 
all by practice and patience, and also upon the " spac- 
ing" and " laying out." A card poorly balanced, even 
if well lettered, is always farther from satisfaction 
than if well balanced but more crudely executed. 

The retail merchant needs no argument as to 
the value of show card writing as an aid in promoting 
business, and is greatly interested in any practical 
method of instruction, within reasonable limits of 
his requirements. 

A series of short instructive lessons, sufficiently 
covering the subject, to enable him to produce com- 
mendable show cards without an expenditure of time 
greater than their value, cannot however prove of 
much value to him unless he is willing to devote a 
little time, thought and study to the subject. 

My experience has been along the same busy 
path that all active retailers travel, and I know 



HOW TO MAKE SHOW CARDS. 11 

exactly all about the perplexities, limitations and 
interruptions attending the making of store signs. 

I am sure there are only two real reasons for 
failure : first, lack of application ; second, submis- 
sion to early discouragement over first attempts. 

So, if "your wishbone is where your backbone 
should be " I would advise that you spend neither 
money nor time on the subject. 

Genius not Required. 

But if you harbor the opinion that only an artist 
can produce satisfactory results that would meet 
your requirements or that card writers are born not 
made, then I know you are in error, as my own 
experience furnishes too many proofs which sub- 
stantiate my words. 

While it does not require a gifted nature to 
acquire the art of making neat and creditable signs 
for ordinary purposes of the retail store, it does 
require proper and somewhat methodical training, 
which is well within the reach of anyone. 

The simple style of plain lettering like the Gothic 
letter may be executed almost by mechanical means. 
They are most generally used by the busy merchant 
who does his own card writing and no other alpha- 
bet produces as neat, or more effective cards. 

Once the student has acquired a practical knowl- 
edge of their geometrical construction (which will 
be illustrated further along in our subject) he will 
only require practical experience in free hand draw- 
ing such as he will readily attain by practice while 
becoming familiar with the geometrical features. 



12 



HOW TO MAKE SHOW CARDS. 




< £ 



HOW TO MAKE SHOW CARDS. 



13 




CHAPTER II. 

FREE HAND WORK. 

Ease with which skill in free hand work may be acquired — 
Methods of holding tools — Why professionals say " It's 
dead easy" — The use of imagination — Guide lines soon 
discarded. 




'REE hand work is more properly defined if 
we should designate it as " acquiring control 
of the pen or brush." One is surprised at 
the acquisition of this free hand work, if he only 
uses occasional odd moments for practice with pen or 
pencil, for which later the brush may be substituted. 
Nearly every sign writer has his own individual 
method of proceeding and those who are about to 
take up the subject, have acquired their own way of 
handling a pencil or pen, therefore special instruc- 
tions or illustrations regarding this point are seldom 
given but slight consideration. It will be found 
advisable in using the brush, however, to hold it a 
trifle more upright than pen or pencil. 



14 HOW TO MAKE SHOW CARDS. 

Many writers in working with the brush, especi- 
ally on large letters, rest the brush hand over the 
back of the left hand, which lies partially closed 
(palm down) on the table or drawing board. 

This gives stability to the stroke and by a slight 
rolling movement of the left wrist a longer and 
bolder stroke is possible or a lighter stroke more 
easily controlled. This is really a substitute for the 
mahl-stick which many prefer. 

"Dead Easy." 

The itinerant window decorator who covers plate 
glass with an array of flourish, flowers and fol-de-rol 
in red, yellow and blue, you dub an artist. His 
execution of letter and ornament excites admiration. 

Have you never succeeded in drawing him from 
his shell of reticence sufficiently to have him become 
confidential and communicative ? If so, he has told 
you that it is " dead easy " ; that you have only to 
"get wise" to the important "trick of the trade." 
Should he happen to be in especially good humor, 
he will illustrate in a few minutes with a pencil the 
basic principles by which letters are formed, so that 
you perceive he is more a delineator of geometry, 
than an artist. 

His ability to discard guide lines except such 
as may be an aid to correct spacing is because of 
skill acquired by familiarity with these basic facts. 
You can acquire a commendable and satisfactory 
dexterity as well as he, by practice, after an intelli- 
gent understanding of the rules and a study of their 
application. 



HOW TO MAKE SHOW CARDS. 15 

His brain has absorbed all this and therefore 
when he starts on the work before him he pictures 
to a certain degree the size, shape and construction 
of the necessary letters. This picture of the brain 
is like a photograph to the eye, and is so clear in 
detail that the hand obeys. Just in the similar way 
that you, when you are seated to write, do not give 
particular thought to the construction of your let- 
ters, for your mind is concentrated on what and how 
you will say that which you intend. The expert 
sign writer has little use for guide lines except those 
of a rough sketchy character intended to secure 
proper spacing and balance. These lines they sel- 
dom follow. 



Q ur fTo< 

1° x 4*r eam 



a 



oda. 



I 



16 



HOW TO MAKE SHOW CARDS. 




p aint y gifts 
/or women, co mbinin g' the 
useful wil h (he x 'lt'X 
/eattire 



AN ATTRACTIVE SHOW CARD. 
(Courtesy of the bigns ol the Times, Cincinnati. Ohio.) 



HOW TO MAKE SHOW CARDS. 17 




HOW TO HOLD MARKING PEN. 

CHAPTER III. 
NECESSARY TOOLS. 

The better the workman the fewer tools — What brushes to 
buy — How to tell a good brush — The importance of tak- 
ing good care of tools — Brush "Don'ts" — Show card 
paint — How to mix paint — How to use paint. 



T^ OOD work requires the best of tools, the 
" cleverest workman generally requiring the 
fewest. Purchase only what are absolutely 
needed. Three or four brushes are sufficient for 
any work that is ordinarily required for the store 
and No. 4, No. 7, No. 12 with a flat brush for " fill- 
ing in " is a convenient outfit. 

In purchasing a brush observe if the ferule is 
well filled and the hair securely fastened. It should 
taper to a fine point and retain the point without 
breaking when in use. A good test is to moisten 
the brush and while wet and the hair holding to- 
gether, twist the point upon the thumb-nail, making 



18 HOW TO MAKE SHOW CARDS. 

all kinds of imaginary circles and curves, if the point 
splits and spreads about it is wise to make a new 
selection. 

A good brush should have spring and solidity 
sufficient not to droop or sag when filled with heavy 
paint. If it possesses these qualities you will have 
little difficulty in getting sharp clean edges to your 
lines. 

Care of Brushes. 

The proper care of brushes is of much import- 
ance and unless given it they soon become useless. 
As really good brushes are expensive, it will pay you 
to consider what is said regarding the care of them. 

To be always in perfect order they must always 
be cleaned every time you are through using them 
and do not under any consideration allow color to 
dry on your brush, wash it out in water and (if you 
are using water color) rinse well in clean water and 
with gentle pressure slide the thumb and forefinger 
toward the brush point, carefully moulding it to its 
proper shape. Clean brushes used in oil with tur- 
pentine. 

Our itinerant friend (of whom I have spoken) 
has the highest regard and bestows the greatest care 
imaginable on his brushes. Almost invariably he 
has a "pet," for which he cherishes an almost pa. 
thetic love. 

If you have succeeded as well as I have many 
times in " drawing him out," he has given you some 
"don'ts " that it will pay you not to forget. 



HOW TO MAKE SHOW CARD 



19 



THE BRUSHES. 



Brush Don'ts. 

Don't allow color to dry on the brush. 

Don't fail to clean if suddenly called from your 
work. 

Don't stand it on end or upright, lay it flat when 
not using it. 

Don't use your water-color brushes in oil color. 
It will ruin it for water color afterwards. 

Don't mix paint with your brush, always use a 
thin-bladed knife or a stick for this purpose. 

Snow Card Paint. 

There are a number of " ready to use " products 

which can be obtained from druggists or stationers 

which may be preferred. But quite as satisfactory 

and convenient for ordinary store work are moist or 



20 HOW TO MAKE SHOW CARDS. 

dry water colors. These give a wide range of va- 
riety, and being inexpensive, one can afford a liberal 
assortment. These may be had at artists supply 
houses or the paint dealer. 

How to Mix Paint. 
If you select moist water color (in tubes is 
preferable), squeeze a small portion on to a clean 
piece of glass, add a drop or two of water and a very 
few drops of mucilage which is used as a binder and 
to give a slight gloss. The mucilage should be pre- 
pared from the best grade of gum arabic and clean 
clear lumps (not powdered) should be used. Now 
mix well, using a thin knife or flat stick. Keep the 
paint pretty thick for brush work and use care in 
adding the mucilage, as too much prevents an easy 
flow of color and produces a ragged edge to your 
letter. Sometimes a little glycerine will produce a 
paint that flows easily. If dry water color is used, 
work it into a soft dough with water, then proceed. 

How to Use Paint. 
It requires something more than merely dipping 
the brush before using. Your brush must be com- 
pletely charged with paint so that the center is as 
well filled with color as the outside hair. After 
dipping into the paint select a clear portion of your 
glass and with the brush make various strokes, 
drawing the brush from side to side, rotating it by 
movement of the fingers and drawing it towards 
you, first on one side then the other. Do this 
frequently. Test by a few light strokes and remove 
superfluous paint before making letters. 



HOW TO MAKE SHOW CARDS. 



21 



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a 






. ^"vl We are 

fel ;. lookiii^Jora 
" ^flr [l\few(Bu stonier. 

>W11 do. 




* 




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) 



THE DRAWING BOARD. 



CHAPTER IV. 



PRACTICE, PRINCIPLES AND 
PENCILS. 

Surprising results obtained through practice — Constructive 
principles elucidated by monograms — Importance of draw- 
ing board and T square — The necessity of practicing 
curves, parallel and oblique lines — Pencil outlining. 




Practice. 
HEN show card writing is mentioned and 
f) the necessity of acquiring a degree of 
skill in free hand work is considered, 
many say : " Wish I could do it, but it requires an 
artist to do that," forgetting that we all possess 
about an average ability as an usual condition, and 
that what looks very difficult and unattainable, is 
not the result of unusual natural qualities but of 
systematic study and analysis of fundamental facts, 
combined with practice. It is equally true that any 



22 HOW TO MAKE SHOW CARDS. 

one who can learn to write can learn how to draw 
or paint letters for the show card. 

Constructive Principles. 

By a series of geometrical monograms the defi- 
nite relations which all letters of an alphabet bear to 
each other will be shown and in detail the mechanical 
method of drawing them. 

The student who will follow these monograms 
with reasonable study of each letter, using rule, 
compass and drawing board at first, will find that 
though mechanical assistance is a great convenience 
in elementary efforts after he has drawn a complete 
alphabet as detailed of each letter, character by 
character, he has acquired a readiness of forming 
letters with more accuracy than would be possible 
to attain by rambling copying or a desultory sketch- 
book of curves, parallel and oblique lines. 

Drawing Board, Etc. 

It is not the intention to convey the impression 
that practice in copying and sketching are not very 
essential, but for the purpose within the limits which 
I am covering, more creditable work may be accom- 
plished if the suggestions in connection with the 
geometry of letters be understood, for these if 
applied to practice in free hand assure greater accu- 
racy and a quicker acquisition of the art. Speed 
acquired by bold careless strokes at the expense of 
accuracy, if once established is usually difficult to 
correct. 

It will be found to be of great convenience if 
a good sized drawing board suitable for the largest 



HOW TO MAKE SHOW CARDS. 23 

card to be used, is procured, together with half a 
dozen thumb tacks and a large wooden T square. 

The board has many advantages over a table or 
desk, as it can be placed at various angles or removed 
to different locations ; uncompleted work on it when 
put aside hastily is better protected from damage, 
and will be found in the same position for completion 
at any time. 

Curves, parallel and oblique lines are the few 
simple important strokes that should be practised 
until they have been mastered. There are odd mo- 
ments when these exercises may be practised with 
pencil or pen by any one who has a laudable ambition 
to succeed. 

Learn to draw with a careful but fearless stroke, 
for it is better that an effort be made to acquire 
speed gradually and easily with a fair degree of 
exactness than by attempting to secure it through 
a strained effort. 

The T square is a very convenient aid in spacing 
and for denoting the exact position of the various 
letters before they are indicated by sketching 

It should be understood that after the principle 
of the monograms has been understood, that in 
general work it is not necessary to draw the lines of 
the rectangle, but simply denote their four corners 
by a dot, or better, a short, slight pencil stroke 
crossing the horizontal lines. This may be observed 
in the sign awaiting the "cleaning up" which is 
attached to the drawing board. 

Pencil Outlining. 

The pencil being the first tool, the student will 



24 



HOW TO MAKE SHOW CARDS. 



use should be a No. 2, or HB, and properly pointed. 
Provide a few sheets of white card board having a 
soft surface (avoid a glazed card). A heavy manila 
paper is very satisfactory. 

Let the perpendicular, oblique, right and left 
curve stroke be always drawn from the top, down. 
Horizontal strokes from left to right. The arrows 
will indicate the usual method employed by modern 
card writers. 

These practical lines or strokes, as shown in 
the plate are really the essential movements neces- 
sary to acquire control of brush or pen and when 
once the ability to execute them, even fairly well, is 
acquired, there is little difficulty experienced in the 
execution of any letter which one may please to 
select ; providing a knowledge of the proper appli- 
cation of the strokes, of mechanical constructions 
and the basic principle of all letter building is well 
understood. (See plate page 26.) 




A SHADING PEN EXERCISE. 



HOW TO MAKE SHOW CARDS. 



25 



3 

If vou arc interested -\^* 

you can fjcl move information 

1 looking" inside." 




CHAPTER V. 
PRACTISE STROKES. 

How to outline letters with light pencil strokes — Table show- 
ing various strokes composing letters — Use of the round 
writing pens — Perfect circles not necessary — How to 
make them — A "secret "of the art. 



^5 AVING ruled a light pencil line denoting 
height, which should be one and a half 
inches, the height of original design from 
which this plate was made, which is a convenient 
size for practice strokes, the intended strokes may 
at first be lightly indicated in pencil (see dotted lines) 
though this must be eventually discarded and a fa- 
cility of executing them without guide lines acquired. 
The Soennecken pen No. 2 (see page 30) may 
first be used, as this enables one to control the direc- 
tion of stroke better, its use permitting more bold- 
ness and establishing confidence. 

Then try the Xo. 4 brush, making all the strokes 



26 



HOW TO MAKE SHOW CARDS. 







c -1 in 

U = 

< en 

ft. o 



HOW TO MAKE SHOW CARDS. 27 

as with the pen and always in the direction of the 
arrows. Figures i to 6 (see page 26) need no further 
explanation. Figure 7. The stroke left to right, it 
will be noted, is the middle part of S, and the right 
to left stroke the center of Figure 2. These are 
difficult strokes to acquire, but when they can be suc- 
cessfully handled, it will be found to be much easier 
to execute the strokes required for combined per- 
pendicular and curved letters or for letters like O, 
G, etc. Figures 8 and 9 are designed more espe- 
cially to secure brush control. In attempting them 
hold the brush nearly upright and have it well 
charged with color. 

The strokes indicated should be made in order 
of 1, 2, 3, the first stopping at A. Without chang- 
ing the direction of the brush, but simply raising it 
just enough to clear the paper, swing it to B and 
make the stroke where the parts connect. Pass the 
brush beyond the junction in order to insure clean 
lines. These two figures should be made with one 
stroke, and when skill has been acquired this will 
not be found difficult, and will be found an excellent 
test of control. 

Figure 10 can hardly be drawn a perfect circle. 
When perfection is necessary the compass is always 
used. Considerable skill is required to make a fairly 
good one, but repeated trials are surprisingly satis- 
factory. First attempts with the pencil are best, 
and when the use of the brush is taken up it is often 
that a slight retouching brings it into symmetrical 
line. 

A good way to do it is to draw a small circle, 



28 HOW TO MAKE SHOW CARDS. 

say one inch diameter and then surrounding it 
with another, one-fourth inch larger and so on until 
four or five have been made. The circle ought to 
be made in two strokes, swinging the brush from 
A to B (No. 1 stroke) and completing with No. 2 
stroke. It is good " control " practice to try and 
make a perfect circle in one stroke. This may not 
for some time produce very pleasing results, but it 
will give the hand and wrist a movement that lends 
ease and confidence to the other easier and more 
frequently used strokes. 11 and 12 are readily seen 
to be important strokes when combined. 

It is a secret of the art to learn to skillfully raise 
the brush from the stroke and to adroitly replace it ; 
this is an important factor in all practice work and 
should be given especially careful attention. 



ABCDEFGHDICL 
MNOPQfemiVW 
XYZ& abcdcfgh\ 
j (c I m a o pc\r$tu v v/xyz 

AX EASILY MADE ALPHABET. 



HOW TO MAKE SHOW CARDS. 



29 




for I In- correcl 
Ihino's in hals. 



CHAPTER VI. 

GEOMETRY OF LETTERS. 

Relation of capital letters to each other — All except three 
drawn in same sized rectangle — Letters grouped into five 
classes — Correspondence courses — Use of monograms — 
I, L, F, E, H, T, Y, A and Z analyzed. 



f ?lk. ANY fail to observe that capital letters 
^ have important structural relations with 
each other, except to note that they are of 
the same height. Beside height, however, they bear 
definite proportions throughout which must be care- 
fully understood in order to attain symmetry and 
artistic appearance. Excepting M, I and W, all 
letters of an alphabet are drawn within the lines of 
practically the same sized rectangle, the sides of 
which touch the limits of the letters. 

Letters may also be grouped into five divisions 
and a study of them by groups (which will be con- 



30 



HOW TO MAKE SHOW CARDS. 




HOW TO MAKE SHOW CARDS. 31 

sidered later) is valuable as establishing a clear con- 
ception of the exceedingly small number of strokes 
used in constructing them. 

While very neat and attractive signs are pro- 
duced by mechanical means with rule and compass, 
do not expect to become an expert card writer by 
confining your skill to this method alone. 

Correspondence Courses. 

By constructing the letters separately, with care 
and accuracy according to the lines of the mono- 
grams as detailed in the text, a knowledge of letter 
construction and its principles will be obtained that 
for all practical purposes compares favorably with 
any of the courses by correspondence. 

There is no desire to depreciate the merit nor 
excellence of the school course, if time and money 
has not to be considered, or if there is a desire to 
enter a larger field than the every day needs of the 
small merchant. Such courses cost from $25 to 
$75, extend over a period of time, demand intensive 
application, almost constant practice and cover a 
field of exercises beyond the needs of practical store 
work. 

These facts a conservative, busy merchant will 
usually consider. First, for purposes of the majority 
of retail stores such an expense is prohibitive. 

Second, the amount of time required to cover 
an extensive field frequently becomes tiresome and 
it is given up. Third, from among the mass of much 
irrelevant matter he has to "dig out" the funda- 
mental and practical. Fourth, if he once understands 



HOW TO MAKE SHOW CARDS. 




MONOGRAM NO. I. 
(Showing how the letters I, L, F, E, H, T, V, A and Z may be 
corr«ctly drawn ) 



HOW TO MAKE SHOW CARDS. 33 

accuracy and how to reach it, which is embodied in 
these monograms, he has the means and the knowl- 
edge of correcting his own efforts as critically as 
could be done by an "expert." 

Use of the Monograms. 

It is not essential that the student should draw 
the letters all in a rectangle of the same dimension, 
as shown in the monogram ; he will get a clearer 
conception of the subject by drawing each letter in 
a separate rectangle. If these are made on heavy 
manila paper and the strokes numbered they will be 
found a convenient reference at some period of doubt. 
The monograms are for the purpose of saving space 
and to show the close relative relation letters bear 
to each other. And for the purpose of imparting 
essential knowledge, but not intended to replace 
free hand brush writing. They are what addition, 
subtraction, multiplication and division are to mathe- 
matics. 

Two parallel lines denoting height of the letters 
are the only guide lines that should be used as soon 
as the eye has become trained. 

When this point is reached it is not difficult to 
write alphabets of other than Gothic letters, and this 
principle of the monogram will be found a great aid 
in constructing odd or ornamental letters. 

To draw the monogram No. i, or to construct 
any single letter accurately, let the student obtain 
proper card board or paper, a No. 2 pencil, rule and 
compass, and having decided on the height of the 
letter or monogram, let the limb width be one-sixth 



34 HOW TO MAKE SHOW CARDS 



-to Aeep posted 

on s/&ru> 

— 

Wisdom 

S suggests a year's 

subscription to 



/ 



Signs ofihe Times 



SUGGESTION FOR A SHOW CARD. 



HOW TO MAKE SHOW CARDS. 35 

of its height. If we select 3 or 6 inches as our height 
the limb width would be )A or 1 inch, respectively. 

Taking each letter in the order of simplicity, 
begin with 

I. It is merely a rectangular character whose 
height and width determine that of all the others. 

Suppose we select as height, 6 inches, our limb 
width (one-sixth) would be 1 inch. With rule and 
pencil construct the rectangle. As a good propor- 
tion in width is ^ of the height, we find we need a 
rectangle 6 inches by 4*4 inches. Now construct 
the I. 

L. Is a left hand upright joined to a horizontal 
limb at the bottom running clear across the rectangle. 

F. Has the same limb as L, only it is at the 
top ; it also has a cross-bar between the top and 
bottom. This center cross-bar is never as long as 
the top one, being a limb width less in length. While 
this cross-bar in block letters is drawn exactly half 
way between top and bottom dotted lines 13, 14, 15, 
16, modern card writers more frequently place it 
one-fourth of a limb width above the exact center. 

E is only F with the lower limb of L added. 

H is a right and left upright (I) with the cross 
limb connection. 

It will be noted that the cross-bars of F, Eand 
H are always the same height. 

T is an I with the top bar of F added. The 
cross-bar of T in practice is usually made a little 
wider than that of the other letters, as T has a ten- 
dency to look "squatty " and not wide enough. H 
has the tendency to appear too wide and is often 



36 HOW TO MAKE SHOW CARDS 

made narrower to counteract this peculiarity. The 
lower limb of L is also frequently slightly shortened 
to counteract an appearance of bad. spacing. 

There are a few deviations from hard and fast 
rules, scarcely noticeable to the uninitiated, which 
make up the bulk of what may be termed the " tricks 
of the trade." For the present they may be dis- 
regarded. 

V has two slanting limbs ; notice that the limb 
width is measured at A-B and C-D at right angles 
to the length and not at 1-2. To form V find 3, which 
is the center of the bottom line, and from 3 mark 4, 
5, which are equal distant from 3, three-fourths of 
limb width. From 4 draw the lines 4-6, and from 5 
draw line 5-1. Now measure limb width at A, B 
and C, D at right angles to 1-5 and draw 2-8, also 
at the left repeat the operation and draw the line 
7-8 to meet at 8. 

A is an inverted V ; the same rules apply to its 
construction'; it also has a cross-bar added, the bar 
being drawn so that its center line (see dotted line 
9, 10) is one-third the height of letter from the base. 
A novice is apt to place the bar of A at the center 
or at least too high. When placed too high the 
work of an amateur is quite evident. 

Z is the top and lower cross-bars of E connected 
by a slanting limb from top right to lower left corners. 
To place the slanting bat, find the center E by dotted 
lines 11, 12 and its corresponding cross lines. Set 
the compass at half limb width and draw the circle 
as noted by dotted line, then draw a line from 11 
just touching the outside of circle and passing on 



HOW TO MAKE SHOW CARDS. 37 

to the lower limb of Z ; from 12 draw a line touch- 
ing the circle to the upper bar. The mistake is 
sometimes made of drawing the slant from left to 
right instead of right to left. 

Looking at the monogram it seems a very diffi- 
cult and intricate task. But as the student lays down 
one line after another, letter by letter, as instructed, 
he is surprised at the simplicity of it all and will 
find himself possessed of knowledge he could have 
acquired in no other way and a confidence that leads 
him on to become a master of letter construction. 

If these same rules are applied to separate spaces 
instead of in monogram, we have words as a result. 






f i*f 



MARKING PEN ALPHABET. 



38 HOW TO MAKE SHOW CARDS. 




monogram no. 2. 

(Showing how the letters X, Y , N and K may be correctly drawn.) 



HOW TO MAKE SHOW CARDS. 39 

-$*£ CaugL 

A SIGN MADE WITH ROUND WRITING PEN. 

CHAPTER VII. 

GEOMETRY OF LETTERS, 

Continued. 

Analysis by monogram of the letters X, Y, N and K — The 
rounded letters — Peculiarities of O, C, G, Q, P, B, D, J, 
U, R, S, M and W — The characteristics of punctuation 
points and how to make them. 




~^fr > IS made by finding the center D, which is 
the point where the lines i, 4 and 2, t>, 
cross. With the compass draw the circle 
shown, whose diameter is of limb width ; this, of 
course, requires the points of compass to be half 
limb width apart. Place the rule to pass through 
the corner of the rectangle at 1, move it to just 
touch the circle, then draw the line 1, 5. See 
Monogram No. 2, page 38.) 

Complete the other three lines in the same 
manner as for K, drawing the lines from the corners 
2, 3, 4 to touch the circle and pass to the limits of 
the top and bottom lines at 6, 7, 8. 

Y is the upper half of X and the lower half of I. 

N cuts all sorts of antics with a beginner. Often 
he makes the mistake of drawing the slanting limb 



40 HOW TO MAKE SHOW CARDS. 




MONOGRAM NO. 3. 

(Showing how to draw the letters O, C, G, Q, P, B, D, J, U, R and S.) 



HOW TO MAKE SHOW CARDS. 41 

from top right to bottom left and seldom does he 
place its connecting angles at the correct point. If 
he will place the proper lines a few times from 
memory, and acquires the ability to do so, he need 
never fail in future free hand work. To draw N 
after placing the two uprights simply place the 
proper limb of X for which instruction has been 
given. 

K make the upright, then draw the line 2, 3 to 
stop at G and a line parallel to it a limb width apart 
and towards the upper limit of the rectangle. It is 
completed by adding the lower right half of X. 
Remember the lower limb of K does not join the 
upper, at a junction with the upright. The lower 
slant is sometimes lengthened slightly or the upper 
shortened to prevent an appearance of being top- 
heavy. 

The Roundkd Lktters. 

The rounded letters take the student into a 
field of curved lines, and much care should be given 
to instructions governing their construction. 

First, lay out the same sized rectangle as pre- 
viously and place the dotted lines 5, 6, 7, 8 and 9, 
10, 11, 12. (See Monogram No. 3, page 40) 

These lines are drawn at a distance of one-fourth 
of letter height added to a fourth of limb width which 
in our 6-inch rectangle would be ijj inches added 
to % inch ; or 1% inches, the distance each line is 
from top, bottom and each side respectively. 

From the points 2, 4, draw quarter circles to 
the right and from 1, 3, draw quarter circles to th 



42 HOW TO MAKE SHOW CARDS. 

left. The radius of the quarter circles is the same 
as the distance of the dotted lines from each side. 
Then draw four other quarter circles whose radius 
is limb width less, from the same points. 

O is the middle of the left and right uprights 
of H and the middle parts of the top and bottom 
cross-bar of E. 

C is the same as O, only the middle of one of 
H's uprights is not drawn, the ends being closed a 
limb width above and below the center dotted line 
A, B, as shown at C and D. 

G is like C with the addition of the bottom 
corner of the right upright of H added. 

O is O with the end of A's slanting limb added. 
The A limb of Q is usually given a slight twist to 
the right and generally a bit lengthened. 

P is the left upright limb and portions of top 
and middle cross-bars. The parts of cross-bars are 
placed after the curved lines have been drawn, the 
curves being drawn around the center at 2. 

B is P with a second curved portion below the 
top one. It is more usual in practice (free hand) to 
make the top portion of B slightly smaller than the 
lower ; this relieves the letter of a "set " and top- 
heavy appearance. 

D is B without the middle bar but having the 
middle of the H upright. 

J is the lower curve of O having the left end 
closed at E and joined to right upright of H. 

U is J without a closed left quarter circle which 
is joined to left upright of H. 

R is P with the lower slant of A added. This 



HOW TO MAKE SHOW CARDS. 43 

lower limb looks best straight and it is easier to so 
construct it. 

In attempting to make it conform to B's lower 
curve there is apt to be difficulty in making it look 
well, especially in a block letter. 

S is the stumbling block of most card writers 
and the hardest letter to form. Care should be 
given to its peculiar component parts, when once 
mastered and understood it is easily constructed. 

Its parts consist of the top of O, the lower part 
of J and two quarter circles drawn around the cen- 
ters i and 4 joined to the middle part of H's cross- 
bar. The top curved part of S is usually drawn 
a trifle smaller than the lower curve. 

M and W are drawn in wider rectangles than 
the other letters. W being one-third wider than A 
or B and M one-ninth wider than A or B, so we 
have to increase our 4^ inch rectangle }i, making 
it 6 inches in width for W and 5 inches for M. (See 
Monogram No. 4, page 44 ) 

To make M within the 6-inch rectangle place 
the uprights half a limb width inside, measuring 
from the outside lines at right and left. It will be 
noted that only the upper right and left limbs of 
W are wider than those of M. 

M is formed by drawing the uprights and finding 
1, the middle point of the bottom of the rectangle, 
on each side of which mark 2, 3, so that the space 
between 2, 3 is limb width. Draw a line from 3 
towards 4 but only as far as 5. (5 is half letter 
height.) Then draw 2 towards 6 as far only as 7. 
Draw a line 8, 9, parallel to 3, 4 limb width distant, 



44 



HOW TO MAKE SHOW CARDS. 




IV 23 3 i a ii a 

MONOGRAM NO. 4. 
(Showing how to draw M and W.i 



HOW TO MAKE SHOW CARDS. 45 

the measurement being at right angles as for V ; 
also a line parallel to 2, 6, from 8 to 10 ; the rule 
will pass through the points 2 and 3 respectively. 

W is made by finding 11, one quarter letter 
from right bottom corner, mark off half a limb width 
to right (12) and draw 12, 13, to top right hand 
corner. Draw left and side line 14, 15 in the same 
way. hind 16 the middle point of top of the rec- 
tangle, mark 17 half a limb width to right 16. From 
17 towards 12 (that is, the rule will pass through 
12), draw a line as far as 18 only. At limb width 
distance and parallel to it, draw 19, 20. 

Then draw the line 21 towards 14 to stop at 
22 ; the line 22, 24 is parallel to 14, 15 and in the 
direction of 23 

The Punctuation Points. 

The period is a square ; limb wide. 

The comma is a period with a diagonal half of 
a period attached. The diagonal part is below the 
line. 

The colon is two periods one ab"\v the other, 
half limb width apart. 

The semicolon is a period and a comma below it. 

The apostrophe is a comma, its upper edge, is 
placed on a line even with the top of the letters. 
The same position is occupied by quotation marks 
to the left of the words which are commas reversed. 

The exclamation is a period separated by half 
a limb width from part of an upright drawn above it. 

The hyphen is the cr >ss-bar of H. 



46 



HOW TO MAKE SHOW CARDS. 




MONOGRAM NO. 5. 
(Showir.g the drawing and Relative Points of the Arabic Nunv rals 



HOW TO MAKE SHOW CARDS. 47 



(fU feACH — 

MADE WITH ROUND WRITING PEN. 



CHAPTER VIII. 

GEOMETRY OF LETTERS. 

Continued. 
The peculiarities of numerals — Easy to make with practice 
— The ten digits analyzed — The ampersand the most dif- 
ficult character — Just how to make it — How the expert 
obtains pleasing results. 




^HE numerals do not have such definite pro- 
portions as block letters, but the student 
having acquired a knowledge of hard and 
fast rules of geometrical construction, can from his 
free hand practice and experience appreciate and 
execute the slight necessary deviation needed, with- 
out difficulty. The same rules apply to drawing 
naught and eight as to the letters O and S. 

One is represented by i. It usually has a ker- 
nel portion at its upper left part, i, 2, 3, 4, 5 give 
its outline. (See Monogram No. 5, page 46). 

Two is the upper part of 3 and having the lower 
bar of L. It's central part is almost wholly a straight 
line although this line is usually given a slight grace- 
ful curve in thin or elongated figures. The straight 
lines and connecting points are plainly shown and 
may be easily placed. 



4S 



HOW TO MAKE SHOW CARDS. 




HOW TO MAKE SHOW CARDS. 49 

Three is the top and bottom of 8 with the cross- 
bar of H. This cross-bar is drawn a trifle longer 
to the left, before it is closed at the line 9, 10. 

Four is a right upright with slanting limb and 
cross-bar added. To place the slanting limb find 
the centre of its rectangle as shown by dotted lines, 
draw the circle (as shown) and proceed as fur the 
slants of X and Z. The cross limb of 4 is raised 
one-fourth letter height less half limb width, above 
the bottom line. The short projection to the right 
is half the distance from cross-bar to the base line. 
So this figure is that much wider than the others. 

The top of 5 is the cross-bar of T. The upper 
half of the curved part of 5 deviates from the lines 
of the other figures, joining the descending left hand 
upright half a limb width higher than the curve of 
8. To draw the proper curve of 5 mark a point 
one-third letter high at center of the rectangle (A). 
The radius or distance of compass points should be 
the distance from A to the right outside limit. Draw 
the outside quarter circle ; the radius of the inner 
circle is limb width less than the outer one. The 
cross-bar connecting lines are then drawn to the 
left connecting with the descending lirfib. 

Six is the lower part of 8 with upper part of 8 
cut off and closed at the right upper end, at C, D. 

Seven takes up the whole of T's cross-bar ex- 
cept some writers prefer to bevel the lower right 
end of the cross-bar the slant being drawn slightly 
to the left. To find the leaning limb of 7 find the 
center of the rectangle in which it is contained, 
by means of the dotted lines 4, 8 and 6, 7, draw 



50 HOW TO MAKE SHOW CARDS. 



MONOGRAM NO. 6. 
( Ampersand. Showing a sure, correct method of drawing &.) 



HOW TO MAKE SHOW CARD 51 

the wide circle and proceed as shown for X and Z. 

Eight is the foundation of 3, 6 and 9 and is 
drawn in the same way as for letter S. 

Nine is an inverted 6. 

Naught is a letter O and its outline is readily 
placed. 

To be brief it will be observed that 2, 3, 6, 8, 9 
and o have more or less the same lines. 1, 4, 5 and 
7 are odd. It is these odd features, if one does not 
know how to place them properly, which is respon- 
sible for much of the feeling of disappointment and 
dissatisfaction. 

The Ampersand. 

The ampersand, &, is perhaps the most difficult 
of all characters to draw and seldom is its delineation 
by mechanical means given. Many writers on the 
art of lettering seemingly avoid giving it attention by 
saying : " It is nearly a figure 8 and little difficulty 
is experienced in adding the lines of alteration." 

I have often attempted the placing of the devi- 
ating line with many disappointing results. The 
"copy system " of show card writing may have its 
advantages but correct information detailing exactly 
"how to do it " is of great value as an aid to free 
hand efforts. The knowledge how is what directs 
the hand to do. 

The special plate devoted to this evasive hiero- 
glyph is especially interesting and the principles 
of its construction easily perceived and readily 
remembered. 

To draw it construct the rectangle and lay out 
the dotted cross lines as for the letter S. Place 



52 



HOW TO MAKE SHOW CARDS 





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HOW TO MAKE SHOW CARDS. 53 

the compass point at i and draw the two upper half 
circles. 

For the lower part place the point at 2 and 
draw the two bottom half circles. The radius is 
the same as in drawing letter S or figure 8. Close 
the upper curved part at 3, 4. Draw a line from 
lower right hand corner to exactly meet the inner 
upper circle at A and a line limb width distant to 
exactly meet the outer circle at 6. These lines may 
extend half a limb width beyond the base line (6, 7) 
though they are well designated within the rectangle. 
Draw the line 9, 10 (having the rule pass through 
the lower left corner at 8) to just meet the lower 
inner circle at 9, and a parallel line 11, 12 limb 
width distant to meet the larger circle. Close the 
ends of the slanting bar. 

The Expert. 

The mere reading of the explanatory text may 
present the subject in a dry, difficult, uninteresting 
and possibly with seemingly a labored effort. But 
this is quite true of all substantial knowledge. 

The expert writer by the use of just the knowl- 
edge contained in this detailed explanation and its 
rigid examples, is able by the aid of sketchy guide 
lines to obtain artistic results. The beginner if he 
will carefully and studiously follow along the lines 
here laid down will soon find that a surprising amount 
of this detail has found such a firm lodging place in 
the brain, that he too soon resorts t" the use of 
rough and sketchy aids. 



54 HOW TO MAKE SHOW CARDS. 







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BOW TO MAKE SHOW CARDS. 5a 

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MADE WITH ROUND WRITING PEN. 



CHAPTER IX. 

ROUND WRITING PEN 
PRACTICE. 

The best method to gain proficiency in the use of the round 
writing Pen — Purposes for which it may be used — Un- 
surpassed for making small card signs for interior of show 
cases, etc. 



5^HE proper shape, formation and relative 
}>\ proportion having been concisely given, the 
best practice for the student will be found 
in drawing the alphabet with the Soennecken pens. 

These pens produce lines of various widths, as 
shown by the illustration of them. They are exten- 
sively used for show card writing, ticket and price 
cards, for outline and border lines. 

The alphabet can be very quickly made with 
a Xo. 2 pen and is excellent practice. The pen 
being stiffer than a brush, is the best tool to use 
after the pencil. 

Dispense with guide lines if possible, except 
those denoting height, though in case of doubt first 
attempts should be lightly indicated with a pencil 
and confidnce gradually acquired. 



56 



HOW TO MAKE SHOW CARDS 



n 



m u 



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Group 1. 



HOW TO MAKE SHOW CARDS. 57 




it 9 iff, 



.MADE WITH KOUND WRITING PFN 



CHAPTER X. 

SIMPLE FORMS OF LETTERING 
AND HOW TO OUTLINE. 

The Alphabet divided into Groups — i, Letters composed 
entirely of straight lines and right angles — 2, Letters com- 
posed wholly of oblique lines — 3, Letters combining verti- 
cal, horizontal and oblique lines — 4, Letters composed of 
combined straight and curved lines — 5, Letters composed 
of curved lines. 

Group One. 
These are letters composed entirely of straight 
lines at right angles. For the purpose of showing 
how simple and comprehensive the system is, the 
alphabet is divided into five groups. These group 
letters are drawn in outline to show the various 
strokes and their direction. These outside lines 
may be drawn with the pen or the brush. Which 
ever is used the strokes are best made as indicated, 
though there is no hard and fast rule to confine one 
to this order of stroke should another way better 



58 



HOW TO MAKE SHOW CARDS. 




Group 2. 



HOW TO MAKE SHOW CARDS. 59 

suit his special ability. The first group is composed 
entirely of straight lines at right angles, and these 
are the easiest to draw. Try to reach the point of 
skill so that they may be readily drawn without 
guide lines other than those denoting height. First 
use pencil, then pen, then brush, and produce them 
at various heights of 2, 3 or 4 inches. 

These letters are all " laid in " with the pen or 
the brush, as may be preferred, their outlines being 
drawn as carefully and skilfully as one's ability may 
permit. 

They are then to be filled in with the flat brush 
and any imperfections corrected. These have not 
been drawn with the intention of producing abso- 
lutely perfect letters, but to show the usual pro- 
cedure and result, in first "cutting in" letters 
intended to be "filled." 

Mechanical methods may be employed to pro- 
duce them, but try and dispense with all aids except 
brains, hand and brush as fast as possible. 

Group Two. 

These are letters composed wholly of oblique 
lines. 

Letters may be made wide or narrow, tall or 
short, or both combined, and these variations some- 
times alter the rules of construction slightly in order 
to produce symmetry or to secure legibility. 

For letters of normal dimensions it may be 
remembered that M and W are about half as wide 
again as N or H. In drawing V be careful not to 
vary the slant of the uprights ; they should be the 



60 HOW TO MAKE SHOW CAKDS. 

- 7^» 




W 1 



( ". KOUP 4. 





Group 4. 



HOW TO MAKE SHOW CARDS. 61 

same angle. The top of X should be slightly smaller 
than the lower part. 

Group Three. 

This group comprises letters of combined ver- 
tical, horizontal and oblique lines. Be sure and 
place the bar of A below the center. K is a hard 
letter to make look pretty. Remember its top 
descending slant joins the upright well below the 
center and the lower slant does not join at a junc- 
tion with the upright ; this lower limb is sometimes 
lengthened or the top one slightly shortened to 
obtain improved appearance. M is one-third wider 
than N and its middle limbs come down to base line. 
N should be drawn by drawing uprights first and 
adding the oblique line. Y is a carefully drawn 
small v with a supporting upright. 

Group Four. 

These are composed of combined straight and 
curved lines. 

In making B and R the upper curves should 
be slightly smaller than the lower portions ; the 
lower limbs of R may be given a slight outward 
curve which is a bit more difficult to make look 
well, or it may be a straight slant. The remaining 
letters are easy of conception. 

Group Five. 
These are composed chiefly of curved lines. 
These are the five hardest letters to construct, and 
consist of curved lines. In drawing these the stu- 
dent should note the arrows giving the direction of 



62 



HOW TO MAKE SHOW CARDS. 




Group 5. 



HOW TO MAKE SHOW CARDS. 



63 



the stroke. With the brush this is an essentia] aid 
in securing speed and accuracy. 

O is usually a perfect ellipse and is the founda- 
tion upon which the other curved letters are built. 
Remember what has been said about holding the 
brush more upright than the pen. 

This is especially necessary in curved letters to 
obtain a clean-edged symmetrical letter. S, which 
is a most bothersome stumbling-block, requires as- 
siduous practice at free hand in order to secure a 
graceful curve ; its upper curve and circle should be 
always smaller than the lower portion. The pupil 
may use penciled guide lines for this letter until he 
acquires confidence and skill sufficient to make such 
aids unnecessary. G may be drawn with a part of 
cross-bar on its lower curve drawn toward its center. 
The Q bar has a peculiar twist or curve to the right 
and should begin at a point well toward the left of 
the center. 



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A SPATULA PICTURE PLACARD. 



64 



HOW TO MAKE SHOW CARDS. 




HOW TO MAKE SHOW CARDS. 65 



*S~8B 




&& 



MADE WITH MARKING PEN. 



CHAPTER XI. 
SINGLE STROKE-LETTERS. 

Mostly used where cards are frequently changed — The 
easiest letters to make are these — The differences between 
lower and upper case letters — Value of practice in making 
single stroke letters. 




INGLE stroke letters are mostly used 
where cards are frequently changed and by 
busy merchants who find rapidity essential. 
There are no letters easier to write with either the 
pen or brush than the single stroke Gothic (see 
plates). They may be quickly and [neatly drawn 
with the brush, using a No. 5 for letters of one of 
two inches high and a No. 8 brush for two inch 
letters or over. 

Keep the paint quite thick, but see that it flows 
easily. Persistent practice of the alphabet, followed 
by careful criticism of the work, will enable one to 
analyze and successfully execute any alphabet that 
may please the fancy. 

In using a brush it is quite necessary to acquire 



66 



HOW TO MAKE SHOW CARDS. 




HOW TO MAKE SHOW CARDS. 67 

skill in working slow, steady sweeps, if clean, well 
written work is desired. 

Beginners are apt to make short, jerky move- 
ments, which result in jagged edges. 

The sweeping stroke gives an even edge to the 
outlines of a letter and is the secret of using the 
brush. 

Do not allow your brush to be on the outer 
edge of a letter unless it is moving at a slow, even 
rate. 

Of course the brush has to be removed and re- 
placed ; but before removing it draw it away from 
the edge. If making single stroke letters, great 
dexterity is required to replace and remove it so as 
to retain a line of even width throughout. 

No letter, however, will be more easily read 
nor have a neater appearance than those of the 
alphabet given, especially when used with the small 
or " lower case " letters. 

Lower Case Letters. 

It has been shown that all letters are formed 
of straight and curved lines, and they have a definite 
relation to each other. 

This is not quite so true of the small letters, or 
"lower case." 

The knowledge gained by study and practice 
of the capitals will be a ready aid to the construc- 
tion of the smaller letters. 

They are divided into classes : short, ascending 
and descending. The short letters are a, c, e, m, 
etc., the ascending b, d, f, and all letters whose 



63 



HOW TO MAKE SHOW CARDS. 




HOW TO MAKE SHOW CARDS. 09 

height is equal to that of the capital letters ; the 
descending are those extending below the line. 

While they cannot be successfully shown in 
geometrical monogram, they have many features in 
common that will be readily recognized by analysis 
of the respective divisions. 

They are a bit more difficult to execute, per- 
haps, but have a tendency to conceal slight inaccu- 
racies, an advantage which "caps" do not possess. 

There is also a certain license in construction 
permissible, providing it does not disturb the sym- 
metry of the line. The ascending letters should be 
the same height as the capital letters, except the 
letter t, which is only slightly shorter than the 
other ascending letters. The short letters are but 
one-half or one-third as tall as capital letters. 

The "lower case" letters are made by a few 
easily combined strokes with much rapidity. 

It may be noted that the letters b, d, p, q, g 
have almost identical construction, being composed 
of the same curved and perpendicular lines. 

By closely studying the manner in which the 
perpendicular joins the circle o shown by the clotted 
lines of b in the plate, and which applies to all these 
letters, a degree of skill tending toward symmetry 
can be acquired which could never be attained so 
easily and quickly without this knowledge. 

Remember that the lower limb of k does not 
join the perpendicular. The upper slanting limb 
and the direction of the lower slant are from the 
lower right corner of the letter to the upper left 
corner of the perpendicular. 



70 HOW TO MAKE SHOW CARDS. 

If the similarity pertaining to r, m and n is 
noted, as shown in the plate, the doubt always 
attending the writing of these letters is at once 
eliminated and confidence established. 

Practice these lower case letters with pencil, 
pen and brush and be careful not to apply too much 
pressure in the use of the pen, for even in using a 
pencil, pressure often results in a wavy line and 
ragged edges. Practice of these thin single stroke 
letters will advance the student more rapidly than 
any other method. 

The principal object of this book — is to outline 
a method of constructing accurately simple letters 
and to describe the basic principles on which all 
successful letter building depends. The author has 
trici to show how one may successfully acquire the 
art of practical show card writing for the ordinary 
purpose of the smaller merchant. Each illustration 
has been carefully worked out and proven to be 
correct. 

The practice strokes are essential and their 
mastery will enable any one to make creditable 
show cards, if he has diligently endeavored to ac- 
quire this knowledge of the basic principles which 
applies to all letters. He will, moreover, after a few 
attempts, be able to analyze and execute the letters 
of any alphabet, for he has reached a point that 
enables him to judge and select that which is most 
correct, best suited to his ability and most pleasing 
to his taste. 

No claim is made of having exhausted the 
subject. 



HOW TO MAKE SHOW CARDS. 71 



WE 

WANT YOUR 

BUSINESS 



CHAPTER XII. 

LAYOUT AND SPACING. 

General principle of the layout — A concrete example show- 
ing how a 7 x 1 1 card should be arranged — Space required 
by the different letters — The Mental Conception — Facts> 
not "' tricks of the trade.'' 




THE beginner usually will confine himself 
(^ to guide lines in his first attempts until his 
^ eye has been trained. The use of light 
pencil lines, either to detail exact outline or to in- 
dicate the letter approximately, is advisable. One 
by one he drops these suggesting helps, except those 
of a very sketchy nature. 

We will suppose that we wish to lay out the 
sentence, " We want your business." First we have 
to consider how it balances best, providing we decide 
to make more than a single line. Our card being 
7x11 inches, we decide it better to use three lines, 
and divide the space by light pencil lines to ac- 
commodate letters one and one-half inches high. 
Finding the centre of the card in width, for the 



72 



HOW TO MAKE SHOW CARDS. 




i X 













<: 



jr-v 



HOW TO MAKE SHOW CARDS. 73 

word "we " we note that W is one-third wider than 
E. Consequently we must allow for this in placing 
it on our card, which we do by placing the W a trifle 
farther to the right of the centre than we should do 
if the word were " BE," or letters requiring equal 
spaces. W and M always have to be considered 
when the matter of spacing is to be decided. Hav- 
ing thus lightly indicated the "WE," there is next 
the line "WANT YOUR." 

Here is another W and a space between WANT 
and YOUR to be considered. A good rule is to 
count the letters, also counting the space between 
words as a letter. Doing so we find we have nine. 
Were the letters of the same width we should 
simply indicate our "space" between "WANT" 
and "YOUR" in the exact centre, but the W 
forces us to place the " space " a trifle to the right. 
This is difficult to give a rule for, for it should be 
borne in mind that the distance of letters from each 
other should be equal, this distance being the space 
between any two nearest points. 

Having this in mind, we decide by indicating, 
first, the Y of YOUR, and then the space to left 
of Y and then place the T in WANT. From here 
we work in both directions (right and left) indicat- 
ing roughly the respective letters. If the spacing 
is not exact we can easily correct it. 

The next word " BUSINESS " contains letters 
occupying an equal space each, except the I, and 
in this case an allowance has to be made by placing 
the first four letters a trifle to the left. By count- 
ing we find eight letters and the center of the word 



74 HOW TO MAKE SHOW CARDS. 

between I and N. So we move the N a little to 
the left, enough to balance the space which is not 
required for the narrower letter I. This is not diffi- 
cult to estimate without measurement other than 
to find the card's center. 

If one cannot "paint in" in free hand the 
letters as roughly sketched, he may carefully out- 
line them using a rule if wishing to do so. This 
outlining may be done with a pencil, or if done 
with a round writing pen and then filled in with a 
brush, no retouching is required. 

All this, which has taken space to tell, is easily 
remembered and when once understood is readily 
applied to off hand lettering, ornament and design. 
These are to be considered rules to be followed only 
in so far as they relate to the mental conception. 
In fact it is these seemingly trivial facts which 
constitute the so-called " tricks of the trade," and 
which, when they have once been explained con- 
cisely, are easy to apply in practice. It is also these 
essential ''tricks" which are seared into the brain 
of our itinerant attist which causes you to credit 
him with abnormal ability. 

In spacing, when such letters as W, V, A, P, 
X, Y are used, especially in words where they 
appear side by side, they should be placed slightly 
nearer each other, owing to their peculiarity of con- 
struction. V A have the appearance of poor spac- 
ing if given the same space as N. H. The letters 
L T, when placed side by side, appear to be poorly 
spaced. Many card writers shorten the length of 
the lower limb of L to obviate this. 



HOW TO MAKE SHOW CARDS. 7o 




CHAPTER XIII 

INKS AND PAINTS. 

Ready-to use paints — How to mix your own paints — Foun- 
dations of black and white paints — Formulas for numbers 
of useful mixtures — Dry and Moist Colors — Waterproof 
i nk — Paints for oil cloth — White ink. 




HE "ready to use" preparations of the 
k market can be purchased if desired, but 
quite as satisfactory results can be made 
from one of the various formulas which are given 
here. 

Most of the best and busiest card-writers pre- 
pare their own colors, using some of these or simi- 
lar formulas. 

Many find it a convenient way to get half a 
dozen small saucers and mix dry water color to a 
stiff paste with water; reduce this with mucilage 
arabic. To keep it moist add a little glycerine. 
Mix each saucer about half full of color The 



76 HOW TO MAKE SHOW CARDS. 

saucers may be set away for use when wanted. If 
the colors dry out in the saucer, all that is required 
is to flood with water for a moment, pour off and it 
will be found moist enough for use. 

If your dry lamp black, vandyke brown or ver- 
milion does not readily mix with water, add a little 
grain alcohol. 

Water glass is in very general use as a base for 
inks for ticket writing. This is soluble in water, 
and the aniline dyes are much used for inks for 
color. For white ink, Chinese white zinc oxide, 
etc , may be incorporated to a right consistency. 
The use of more mucilage, water glass or shellac 
gives a higher gloss to the letters. But too much 
is apt to crack and peel off. 

The following formulas will be found reliable 
and to give equally good results if properly prepared. 

Gum arabic is one of the best vehicles for all 
indoor work. The mucilage should be made from 
clearest pieces of gum. Select if you can the most 
transparent. Dissolve one ounce of gum in four 
ounces of cold water. Do not use the poudered, as 
you will not get a bright, clear mixture. Dextrin 
and glue are sometimes used, but are not as satis- 
factory. 

Another equally good vehicle, and one that is 

waterproof and dries quickly, is " boro-lac." This 

is made as follows : 

Boro-lac 

Borax x /i oz. 

Water 5 ozs. 

dissolve and add 

Shellac X oz. 



HOW TO MAKE SHOW CARDS. 77 

Dissolve by the aid of heat. Stir well while 
dissolving. With this any dry pigment or moist 
color in tubes may be mixed. 

An excellent black may be had by adding to 
the above 

Nigrossin i dr. 

Tannin 20 grs. 

Picric acid 8 grs. 

Ammonia water 2 drs. 

Moist water colors in tubes are most convenient 
for use, and may be purchased in a great variety of 
colors. The principal ones needed and most used 
are ivory black, lamp black, Chinese white, ver- 
milion, chrome yellow and Prussian blue. 

To Use Drv or Moist Colors. 

Place a portion sufficient for your immediate 
work upon a clean piece of glass, or a small shallow 
cup designed for the purpose, and, if using the dry 
color, first moisten with water to form a mass the 
consistency of soft dough. Then add a few drops 
of mucilage or boro-lac and mix well with a flat 
knife or stick. A few drops of glycerine added will 
sometimes make a free flowing product. 

A black having a good gloss may be made as 

follows : 

Waterproof Black Ink. 

Boiling water 8 ozs. 

Borax, powdered l A oz. 

Shellac 1 oz. 

Place over heat and stir until borax and shellac 
are all dissolved. Then stir in just enough ivory 
black to color it a deep black, but not making it too 



78 HOW TO MAKE SHOW CARDS. 

thick. More shellac makes it more glossy. More 
borax will make it less liable to chip. If a little 
indigo is added the black will have more of a bluish 
tinge than of the brown. 

Japan Black for Oil Cloth. 
Ivory black ground in Japan is much used by 
sign painters. It gives a fine solid black and is 
especially adapted for use on oil cloth signs. 

Red for Oil Cloth. 

Enghsh vermilion dry, if mixed in white dam- 
mar varnish, makes a splendid red for oil cloth and 
dries with a bright gloss. 

Another Waterproof Ink (Glossy) 

Asphaltum i % ozs. 

Venice turpentine j4 oz. 

Lamp black or ivory black % oz. 

Turpentine 4 ozs. 

Mix. The turpentine is apt to spread when used 
on card board having a soft or absorbent surface. 

White Ink. 

There is nothing more satisfactory than Chinese 
white which has been mixed with the mucilage or 
Boro-lac, as mentioned previously. Oxide of zinc, 
very fine, or barium sulphate, rubbed well on a slab 
or glass with a little mucilage of tragacanth, to 
which some gum arabic has been added, is also 
found very useful. 

For small work, bleached shellac dissolved in 
alcohol and colored with any of the aniline dyes 
will make a waterproof ink. It must be kept tightly 
corked, as it rapidly evaporates. 



HOW TO MAKE SHOW CARDS. 




LOOK THKOLOH. 



CHAPTER XIV. 

PRIMARY AND SECONDARY 

COLORS. 

The three primary colors — How to produce secondary col- 
ors — Harmony of Colors — Two color combinations — 
Three color combinations — How to mix colors — Test of 
colors and their analysis. 




ED, blue and yellow are the three primary 
colors. If we mix any two of them we pro- 
duce a secondary color. Thus, blue and 
red form violet, blue and yellow give green, red and 
yellow makes orange. 

Now each of these secondary colors will har- 
monize perfectly with the color that does not enter 
into its composition. 

Violet, for instance, — made from a mixture of 
red and blue, — harmonizes with yellow, the primary 
color which does not enter into its composition. 
Green having no red, agrees well with red ; orange 
forms a perfect contrast with blue. Either of these 
contrasts has the effect of brightening the colors 



80 



HOW TO MAKE SHOW CARDS. 



■1 



T-t-1 






v-0 

a-, 

O 



■Lf3> 
TO 



> 



HOW TO MAKE SHOW CARDS. 81 

employed ; a red and green appear more beautiful 
when placed side by side than when used singly. 

The mixing of colors is a very different matter 
from using them side by side, for while one combi- 
nation of the primary colors gives white, another 
proportion of them will give black. Therefore, be- 
cause red and green may appear beautiful side by 
side, it does not follow that a red letter on a green 
surface would look well at all. The reason is the 
colors are somewhat transparent and the green of 
the card or paper shows througk and dims the bril- 
liancy of the red. The same would apply to orange 
or yellow on blue. 

The best contrasts are formed by the comple- 
mentary colors, though the primary colors, blue, 
red and yellow, agree well together. Colors not in 
harmony, when placed near each other, have an 
effect which is damaging to their brightness and 
unsatisfactory to the eye. 

Black, gray and gold look well with any color 
or their combinations. 

The following combinations will be found to 
look well on a white ground. 

Two Color Combinations. 
Crimson and bright yellow, bright green and 
warm brown, bright green and vermilion, blue green 
and orange, ultramarine and carmine, ultramarine 
and maroon, bright yellow and light blue, bright 
green and purple. 

Three Color Combinations. 
Carmine, purple and ultramarine ; purple, blue 



82 HOW TO MAKE SHOW CARDS. 

green and orange ; carmine, ultramarine, brown ; 
carmine, bright green, purple. Two or three shades 
of the same color give a neat effect. 

How to Mix Colors. 

From the three primaries together with white 
and black any of the following tints or colors may 
be made. 

But in mixing them always commence with the 
lighter color and add the darker one. Much care 
should be given to having the glass and knife, or 
stick, with which the paints are mixed perfectly 
free of color, for the least bit of black will certainly 
spoil a light color. 

Violet — white, blue, red. Bright red — car- 
mine, pale vermilion. Bronze green — green, black, 
yellow. Brown — red, black. Chestnut — red, 
black, yellow. Chocolate — brown, red, black. 
Copper — red, yellow, a very little black. Cream 

— white, light yellow. Deep blue — black, blue. 
Deep green — blue, yellow, black. Gray — white, 
black. Green — yellow, blue. Gold — white, yel- 
low, red. Lilac — violet and a bit of white. Olive 

— gray, blue, yellow. Pink — red, white. Purple 

— blue, red. Scarlet — vermilion, carmine. Sal- 
mon — red, yellow. Straw — white, yellow. 




HOW TO MAKE SHOW CARDS 



83 




LOOK AT IT 



CHAPTER XV. 
BRONZE, FLITTER, SMALT, ETC. 

The use of bronze, flitter, smalt and flock — What they are 
and how they may be applied — Should be used with 
judgment — The use of chalk — Easily removed. 




r iJ^ RONZE can be purchased in many colors 
— rich gold, pale gold, silver, fire, etc. 
These varieties are put up in one ounce 
packages and may be used with good effect in 
ornamental lettering. This may be mixed with 
mucilage to a thick paste and thinned with water 
to supply consistency, or a liquid mixture may be 
purchased, designed for the purpose. 

Another method is to use a thin varnish, or 
shellac, diluted in alcohol, and paint with it. As 



£4 HOW TO MAKE SHOW CARDS. 

soon as it becomes tacky the bronze powder may 
be applied dry with a dry brush. 

Keep bronze powders in bottles to keep them 
free of moisture. 

Flitter. 

Flitter is a flaky tinsel substance and can be 
bought at paint supply stores in ounces. The colors 
are gold, silver, purple, fire gilt, etc. It is much 
used for holiday card signs. It may be applied by 
using any of the adhesive substances like mucilage 
or glue. Preferably use a thinly diluted glue the 
same as you would use paint After painting the 
lines you wish to have covered with flitter, lay your 
card on a large sheet of paper and cover the lines 
well with the flitter, tipping the card first to one 
side and then the other, so that every part of the 
wet lines are covered, then shake all off into the 
paper and let the card dry. 

Smalt. 
This is sand colored and is in much use by sign 
painters on wood ground and also on oil cloth. 
Blue, black and maroon are most popular. The 
ground work is usually painted with an appropriate 
color, mixed in Japan, and the smalt immediately 
sprinkled on while the sign is lying flat. It is at 
once set upright over a newspaper, when the sur- 
plus comes off. It will dry in five or six hours. 

Flock. 
Flock is felt ground and dyed in a variety of 
colors and can be applied in the same manner as 
smalt. As it is readily blown about it is quite an 



HOW TO MAKE SHOW CARDS. 85 

undesirable article to handle. However, interior 
signs lettered in gold flock have few equals in rich- 
ness. 

Chalk. 
Chalk crayon, cut to. a sharp edge, is used to 
indicate the outline of letters on cardboard of a 
dark surface. All traces of guide lines can be easily 
removed by slight brushing with soft dry cloth with- 
out injury to the card's surface. 



12345 
678G0 



SINGLE STROKE NUMERALS. 



86 HOW TO MAKE SHOW CARDS. 




SPEAKS FOR ITSELF 



HOW TO MAKE SHOW CARD 



87 




KEEP POSTFD. 



CHAPTER XVI. 

HINTS FOR THE SHOW CARD 
WRITER. 

The importance of a good scrap book — Uses that maybe 
made of collected letters and pictures — Borders and edge 
lines — Use of the atomizer — The drawing board, etc. 




T/HERE is nothing more valuable than a 
scrap book in which to keep for reference 
anything of interest, or that may be con- 
venient or useful for future reference. Magazines, 
newspapers and various advertising media furnish 
abundant attractions in various styles of letters 
which may be clipped and pasted into such a book. 
Have at least two pages devoted to each letter of 
the alphabet. In a year one is surprised at the fine 



88 HOW TO MAKE SHOW CARDS. 

collection of odd and ornamental styles which may 
be readily copied or can be transferred if desired by 
tracing paper. 

Initial letters, monograms, etc., if preserved 
for a few years, can often be made use of and a 
valuable collection obtained. Pictures cut out true 
in outline and when wanted for use may be pasted 
on to the card and suitable wording added. The 
pictures must be carefully cut along their outlines 
and neatly pasted in place. Give the back a liberal 
coat of paste and after placing it where you intend, 
cover with clean sheet of white blotting paper, press 
firmly to the card by rubbing with a clean cloth on 
the blotter. The blotter and cloth will take up and 
absorb any superfluous mucilage or paste. When 
the picture has become perfectly dry take a brush 
and color, and paint in a background to the picture, 
shading it somewhat after the effect seen in photo- 
graphic backgrounds. Use very little color but have 
it overlap very slightly the edge or outline of the 
picture. This method produces an appearance of 
the whole affair being painted on the card. 

Another useful addition to the scrap-book are 
specimens of scrolls, corner pieces and ornamental 
dashes. Scrolls may be duplicated by the use of 
transfer carbon paper, or one may trace them with 
a soft pencil and then, reversing the paper, lay 
the side containing the soft pencil marks next to the 
card. By hard rubbing on the upper side of the 
paper the marks will be sufficiently transferred so 
as to be plainly outlined and finished with pen or 
brush. 



HOW TO MAKE SHOW CARDS. 89 

Border and Edge Lines. 

These lines and also the under-line of a word 
or words as well as the lines occurring in dashes 
and ornamental portions are most neatly made with 
a ruling pen such are used by architects and in 
mechanical drawing. There are many styles in use. 
Usually the thickness of the line is regulated by 
a thumbscrew at the side. Some are made to fit a 
compass for drawing circles. For ticket writing 
nothing is more convenient for border lines and 
other purposes. 

These pens are not dipped into the ink, but the 
space between the points is filled about one-fourth 
full by means of your paint brush. They must not 
be overloaded for then they will overflow and ruin 
your work. If they become clogged rinse in water 
and wipe with damp sponge. Wipe perfectly dry 
when through with its use. 

Show Card Phrases. 

Your scrap-book will be more valuable if you 
find in it a place for card phrases. These attract 
attention and a catchy and sensible phrase often 
has a selling force that neither price nor quality can 
equal. 

Use of the Atomizer. 

Atomizers may be quite successfully used for 
spraying designs where two tints may be an attrac- 
tive change. A portion of the work is first care- 
fully covered with some neatly designed form or 
cut out, either circle, oval, scroll or panel and a 
thin mixture containing very little color is sprayed 



90 HOW TO MAKE SHOW CARDS. 

from an atomizer over the uncovered portion. The 
atomizer which is similar to a perfume atomizer 
may be purchased from artists' supply houses. They 
should be held at a distance of six inches or a foot 
from the card. Professionals use air brush for this 
kind of work, but they are expensive affairs though 
they have a larger latitude. A little practice is re- 
quired but very effective work in light and dark 
tints may be produced with a little care and skill. 

The Drawing Board. 

The use of the drawing board is much more 
convenient than a desk or table for ordinary work. 
Vou can have your cardboard cut to desired sizes at 
the place it is purchased. The usual size is 22 x 28 
inches, so it is well to order it cut to half sheets, 
quarters or eights as may be selected. 

A convenient size for a drawing board is about 
20 x 2/ inches, which is large enough for the usual 
work one has to do. Procure at the same time a 
wooden T square 24 inches long and a half a dozen 
thumb tacks. 

When your cardboard has been fastened by 
means of the tacks perfectly "square" with the 
edges of the drawing board, the T "square" will 
be found absolutely essential in securing true per- 
pendicular and horizontal lines. Make your pencil 
lines with a soft H B. Koh-I-Nor pencil and also 
use it for any preliminary sketching. Make the 
lines as light as possible then they are easily erased 
when the final "cleaning up" with cert gum is 
reached. 



HOW TO MAKE SHOW CARDS. 



'.'1 




STUDY THIS CHAPTER CAREFULLY. 



CHAPTER XVII. 

CATCH PHRASES. 

A collection of scores of ready made legends that may be 
used to advantage on show cards — Scintillating sentences 
that awaken curiosity and stimulate trade. 



A trade tonic. 

At rock-bottom prices. 

A style for every fancy. 

A thought for the future. 

A friendly tip. 

As cool as they look. 

A vesting investment. 

A satisfactory article. 

A profitable proposition. 

A saving worth having. 



An idea of our own. 
An unquestioned value. 
Another slip in slippers. 
Another chance to save. 
An investment that pays. 
A chance for you. 
A dream in leather. 
A big dollars' worth. 
A chance for saving. 
An appeal to your taste. 



92 



HOW TO MAKE SHOW CARDS 



All good ones. 
A dollar stretcher. 
All articles of merit. 
All new and all right. 
All kinds and all good. 
A dainty Christmas gift. 
A forecast for Christmas. 
Always at your call. 
A marvel in quality. 
All we say, we mean. 
All yours at your price. 
Brimful of style. 
Books for holidays. 
Buy now — don't wait. 
Bottom prices on top. 
By every test the best. 
Buy to-day and be sure. 
Buy and own a good one. 
Bargain bulletin. 
Better buy early. 
Better and better. 
Best in the market. 
Beautiful and different. 
Bargains — not remnants. 
Cash is economy. 
Christmas charms. 
Certainly "look good." 
Can you resist these ? 
Christmas suggestions. 
Cannot get out of order. 
Come while they last. 
Come early and often. 



Costs less than it should. 
Coolness contributers. 
Costumes for summer. 
Correct in every detail. 
Cool things for hot days. 
Come in and look around. 
Don't wait too long. 
Double duty of dollars. 
Exclusive for this week. 
Every cent counts. 
Every one satisfies. 
Every buyer pleased. 
PL very one a good one. 
Everything that's new. 
Every article you need. 
Every day a bargain day. 
Easy to possess. 
Full of merit. 
Erost-nipped prices. 
For prosperous people. 
For that chilly feeling. 
Fragrant as the flowers. 
Fits and misfits. 
Food for thought. 
Fall opening to-day. 
For use and beauty. 
For the summer girl. 
Facts ! Facts ! Facts ! 
Fine goods a specialty. 
Footwear built on honor. 
Finest and most durable. 
Fine tailoring a specialty. 



HOW TO MAKE SHOW CARDS. 93 

A top-notcher for the money. 

A wise person buys the best. 

A warm thing for a frosty day. 

Attractive styles at attractive prices. 

A saving on every purchase. 

Art in cutting — skill in making. 

A price that makes you happy. 

A square deal for a round dollar. 

Are you interested in low prices ? 

A purchase made now will save worry Xmas eve. 

A new line at a new price. 

Another week of surprises. 

Another chance for saving. 

An inspection is all we ask. 

An old favorite at a new price. 

A new way to fill an old want. 

Antique finish, but modern prices. 

A pleasure and a comfort to the wearer. 

A poor article is no bargain at any price. 

Appropriate goods at appropriate prices. 

Any time is a good time — now is the accepted time. 

A chance to get the best. 

An argument for early buying. 

A dollar saved is a dollar earned. 

A high grade at a low price. 

All money looks alike to us. 

A good thing at a right price. 

All our time is at your service. 

All kinds of repairing neatly done. 

A little money goes a great way. 

All merchants trust some — we trust you. 

A little higher in price, but cheaper in the end. 



94 HOW TO MAKE SHOW CARDS. 

After these are gone — no more. 

A mere promise gets these 

All wool, luxurious, snug, pretty and comfortable. 

Big thing for little money. 

Breezy things for hot days. 

Bright things for dull days. 

Big bargains in bristle goods. 

Broken sets at broken prices. 

Buy now if you want the best. 

Buy what you want — pay when you can. 

Beautiful and economical. 

Better, but cost no more. 

Be a friend to your purse. 

Best goods are easiest sold. 

Big values for little pocket-books. 

Bargains that cannot be repeated. 

Best investment you ever made. 

Baby's wants have our special care. 

Because they fit well, they wear well. 

Come in — you're welcome. 

Credit for those who ask it. 

Costs you nothing to come in. 

Credit business at cash prices. 

Choose wisely by choosing here. 

Cheapness isn't always economy. 

Cash prices on cash-bought goods. 

Cash is the axle grease of business. 

Cannot be duplicated anywhere else. 

Crumbs of comfort for the economical. 

Cash or easy payments — to suit your convenience. 

Correct shapes and colors. 

Come again and gain again. 



HOW TO MAKE SHOW CARDS 95 

Correct styles at correct prices. 

Costs but little, but worth much. 

Come back to-morrow for what you have forgotten 

to-day. 
Don't hesitate — now is the time. 
Don't wait until the best is gone. 
Don't decide until you are ready. 
Don't wait — this is your best chance. 
Don't forget the little folks at home. 
Don't think too long — these bargains won't last. 
Don't take our word for it — but come and see for 

yourself. 
Don't bother about the bundle — we'll send it home 

for you. 
Distinctive — uncommon. 
Dollars do double duty. 
Dainty, delicate, delicious. 
Daily hints for daily needs. 
Dainty things for dainty people. 
Don't economize at your own expense. 
Every one should have one. 
Every one worth the price. 
Every expenditure a saving. 
Every day here is "bargain day." 
Early comers get the best. 
Economy is its own reward. 
Early things for early spring. 
Especially for hard-to-suit folks. 
Encourage that well dressed feeling. 
Entire satisfaction to each and every customer. 
Full value for every dollar. 
Furnishings for the family. 



96 



HOW TO MAKE SHOW CARDS. 



Full of snap, style and wear. 

Few as good — none better. 

For fit and wear and style. 

Fair prices build our trade. 

Fall effects at fallen prices. 

Finest grade for finest trade. 

Fit well, feel well, look well. 

For the summer girl's brother. 

Fat facts for slim pocket-books. 

Fall and winter styles now ready. 

Fit and wearing qualities combined. 

Favorite wear for fashionable folk. 

For modest tastes and modest purposes. 

For those who enjoy the best of everything. 

He buys best who buys first. 

We win trade by deserving it. 

If you want more " Catch Phrases" send the 
publishers 50 cents and they will send you a book 
containing over three thousand and four hundred 
more of them. 




HOW TO MAKE SHOW CARDS. 97 



APPENDIX 



ILLUSTRATIONS 

OF 

PRACITICAL WORK THAT MAY BE DONE BY 

MARKING AND SHADING PENS AND 

BRUSHES WITH DIRECTIONS 

AND EXPLANATIONS 



\Y. A. THOMPSON 

PONTIAC, MICH. 



Note : — Anyone wishing additional information nuy cbtain it by 
writing Mr. Thompson at the above address. 



98 



HOW TO MAKE SHOW CARDS. 




HOW TO MAKE SHOW CARDS. 99 



MARKING PEN LETTERING. 



In the accompanying illustrations (Figs, i and 
2) we present a very desirable alphabet for neat and 
rapid work. The size of letters may be varied ac- 
cording to the size of pen used. Any size of pen 
from 1-32 to a half inch wide can be used to good 
advantage. 

In lettering always use a downward pressure 
and only sufficient to make the ink flow. The small 
figures and arrows show the order in which each 
stroke is made and combined for a finished letter. 
In practice always aim to have the capital and small 
letters correspond in slant. 

The small arrows in the illustrations show the 
direction of each stroke in the make up of different 
letters. When movement exercises are practiced 
the utmost pains should be taken to repeat them 
with precision, and each effort should be carefully 
looked over and studied to find the faults by com- 
parison with the copy. 

For practice work use a No. 1 or Marking Pen, 
and make the letters larger than above copy. 



mo 



HOW TO MAKE SHOW CAPDS. 




HOW TO MAKE SHOW CARDS. 101 



Our to ay 
_gf hand lin g 

Prescriptions 

ts tr ustworth y. 



FIGURE 3. MADE WITH MARKING PEN. 

The cards, Figures 3 and 4, were lettered with 
a marking pen at a good rate of speed and will give 
an idea of the style of work that all beginners may 
do with a very little practice. This class of work 
can be done very quickly when using this style of 
alphabet. Always use black ink and white card- 
board for small cards in this style of lettering. 



10-2 HOW TO MAKE SHOW CARDS. 




a 



Chop Sueij 

while you waif . 



FIGURE 4 MADE WITH MARKING PEN. 

Quite prominent Soda Fountain cards may be 
cut 3 x 14 inches (see Figs. 5, 6 and 7). A full 
sheet of cardboard 22 x 28 inches will cut 14 cards 
of this size. White cardboard with black lettering 
and underlined with red ink will present a very neat 
appearance. 



HOW TO MAKE SHOW CARDS. 



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HOW TO MAKE SHOW CARDS. 




HOW TO MAKE SHOW CARDS. 105 



VERTICAL ALPHABET. 



In the illustrations, Figures 9 and 10, the stu- 
dent will notice the letters are vertical instead of 
slanting style. 

In practice study carefully the exercises given 
in the first line of both illustrations and see that 
you have the proper slant of pen from the base line. 
The small arrows show the order in which each 
stroke is made and combined for a finished letter. 

This alphabet may be made very rapidly and 
also have the appearance of being somewhat tasty 
without extra effort, as the letters are formed by 
natural and rapid strokes of the pen. The size of 
the letters may be varied by making the letters tall 
and slender or by making them low and extended. 
Study and practice especially the form and make-up 
of each letter, then you will be in a good position 
to vary the proportion of lettering and wording on 
either small or large cards and tickets. 

The lower case letters given in Figure 10 will 
be found interesting, as a few simple strokes make 
up the full set. 



106 



HOW TO MAKE SHOW CARDS. 




4 O) ^ 



HOW TO MAKE SHOW CARDS. 



Useful 



Articles 

For 

H ou sehold 

Needs. 



FIGURE 11. MADE WITH .MARKING PEN. 

Spacing of the composition in general show 
card work is very important, as the force of the 
message of the card is largely due to its arrange- 
ment. Try to bring out the headline or important 
part of the card very strongly, and the balance in 
neat and compact order. 



108 



HOW TO MAKE SHOW CARDS. 



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HOW TO MAKE SHOW CARDS. 109 






On wet days, 
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tele phone u$ y our 
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—We .Deliver. 



FIGURE 15. MADE WITH MARKING PEN. 

Study on the component parts of the letters 
and the different strokes in relation to their make- 
up will always lead to rapid advancement for the 
energetic student. 



110 



HOW TO MAKE SHOW CARDS 




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HOW TO MAKE SHOW CARDS. 111 



PLAIN PEN SHADING. 



Pen Lettering with Marking Pens and shaded 
to the left with a plain pen, as shown in the accom- 
panying illustration, will enable any one to make an 
endless variety of neat show cards. On white cards 
make the letters in black and shade with light green 
or red. 

Lettering on colored cardboard should be in 
black and shaded to the left with white ink. Use a 
marking pen for shading the letters with white ink. 

For practice paper, use a good grade of Manila 
wrapping paper, light in color and of smooth surface. 
When cut into sheets 8 by 12 inches or 10 by 18 
inches it will aid in securing the very best results 
in practice work. Colored print paper in green, 
blue, orange, will work splendidly and rest the eyes 
in practicing, both in day and evening. Most any 
color of paint may be used, but white paint is gen- 
erally preferred in practice work on colored paper. 
Most any job printing office can furnish this paper 
at a small cost. 



112 



HOW TO MAKE SHOW CARDS. 





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INK HINTS. 



Most all colors of ink for shading on white card- 
board will produce a neat effect, as plain pens make 
a flat tint stroke about half the depth of color of ink 
used. 

For the best results in practiee, always see that 
your ink is thick enough to throw a full and even 
stroke without blurring, and you will save time and 
do good work with ease. It's a common fault with 
most beginners to use ink that is too thin, and in 
many cases this is the point where most all students 
fail for the want of a little careful study in keeping 
lettering material in good working order. 

In lettering show cards, aim to have the letters 
prominent yet compact. More life in lettering and 
general arrangement can be put in a card 7x11 
inches than is generally put in a card 14 x 22 inches 
by most card writers who do not give care to spac- 
ing and arrangement. 



114 



HOW TO MAKE SHOW CARDS. 




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HOW TO MAKE SHOW CARDS. 11' 

AUTOMATIC 
SHADING PEN LETTERING. 



In Figure 22 we have a good, practical alphabet 
for the Automatic Shading Pen. To combine the 
shade or flat tint in this style of lettering, careful 
study in the construction or make-up of each letter 
is very important, as success in shading pen letter- 
ing depends almost entirely upon a definite knowl- 
edge of how and when each part of stroke of the 
letter is made and connected. 

Practice carefully on vertical strokes and always 
try to keep your work compact — not too large in 
beginning. Get a definite idea of the strokes of 
the letters you intend to make before beginning. 
Put the pen on the paper or cardboard before start- 
ing the movement and stop the movement before 
or as you raise the pen. 

In beginning the first stroke of letter A (large 
letters) draw the pen downward the length of the 
letter (one inch), next add cross-bar just below the 
center, then place pen at top or beginning of first 
stroke and draw horizontal stroke about half length 
of cross-bar and run 



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HOW TO MAKE SHOW CARDS. 121 



BRUSH LETTERING- 
SINGLE STROKE BLOCK. 



The letters of this alphabet are formed by 
natural and free-hand strokes of the brush (see 
Figs. 26 and 27). The size of the letters may be 
varied by the use of large or small brushes. The 
brush strokes and exercises showing the construc- 
tion of the letters, as given in the first two lines of 
the alphabet plates, will be good practice for all who 
are interested in doing neat and effective show card 
lettering. In single stroke lettering there are just 
two movements of the brush to be used — from top 
to bottom and from left to right. The small arrows 
indicate the direction of each brush stroke in form- 
ing each letter. 

The small, short lower case letters should be 
about two-thirds as tall as h, k and 1, which are the 
same height as the capital letters. In lettering, 
the brush should be held similar to the manner of 
holding a lead pencil, except that the brush should 
be held more upright. When lettering aim to have 
your paint rather thick, but free flowing, so as to 
cover well in each brush stroke without retouching. 



122 



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SHOW CARD ROMAN — 
BRUSH STROKE. 



For ease in producing practical brush stroke 
lettering of a Roman style, one should have a good 
knowledge of general form and make-up of the dif- 
ferent letters. This style of lettering can be made 
quite rapidly by free-hand brush strokes, as indi- 
cated in the first two lines of alphabet plate. Use 
a No. 9 Red Sable show card brush and make the 
capital letters about one inch high. When the 
brush is held in proper position and used with a free 
flowing show card paint (rather thick) all curve and 
straight line strokes can be easily made true and 
uniform with one sweep. 

When making capital letters one inch high, the 
short lower case letters, such as a, c, o, s, n, etc., 
should be 5-8 of an inch high. The $ and cent 
characters should be small, about half the size of 
figures. 



HOW TO MAKE SHOW CARDS. 



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KNOWLEDGE f W\ THAT PAYS 



If you are looking for an opportunity for mak- 
ing money, or if you are not satisfied with your 
present position, or your past earnings, you will find 
an up-to-date course of instruction by mail in Show 
Card Lettering and Designing the best investment 
you ever made. 

We have separate courses of Show Card letter- 
ing instruction for Home Study in 

Marking Pen Lettering, 
Shading Pen Lettering, 
Soennecken Pen Lettering, 
Up-to-date Brush Lettering. 

Finished card-sign lay-outs and practice copies 
are furnished for student's practice outside of the 
lessons and alphabets. Student's work on each 
lesson corrected and returned postpaid during the 
course. 

Every Student a Success. 

Catalog of lettering supplies and full informa- 
tion in regard to price for instruction courses mailed 
free to all interested. Address, 

W. A. Thompson, 
16-18 East Huron St., Pontiac, Mich. 



SPECIAL 

Practical show card brush stroke alphabets in 
full working size at only 25 cents per set, — capital 
and small letters. 

The following Alphabet Charts in different 
styles of lettering have been arranged for the best 
results in favor of the student. The movement or 
direction of the brush strokes in forming each letter 
is clearly shown by small arrows in the exercises, 
and also in the finished letters of each alphabet 
together with figures for price tickets. 

These charts are just the thing for those who 
have not the time to devote to a course of instruc- 
tion in show card brush lettering. 

Note the different styles as follows. Order by 
number. 

Egyptian 2 alphabet charts, Nos. 21-22, 25c. postpaid 

Roman 2 alphabet chafts, Nos. 23-24, 25c. postpaid 

Italic Roman 2 alphabet charts, Nos. 25-2G, 25c. postpaid 

Single Stroke Block 2 alphabet charts, Nos. 27-28, 25c. postpaid 

Brush Text 2 alphabet charts, Nos. 29-30, 25c. postpaid 

Block 2 alphabet charts, Nos. 31-32, 25:. postpaid 

.Semi- Script 2 alphabet charts, Nos 33-34, 25c. postpaid 

Thick anil Thin 2 alphabet charts, Nos. 35-36, 25c postpaid 

Script 2 alphabet charts, Nos. 37-38, 25c postpaid 

Old English 2 alphabet charts, Nos 39-40, 25c. postpaid 

The full set of alphabets — 20 alphabet charts 
— at $2.50, postpaid, is the biggest offer of merit 
that has ever been made to those interested in learn- 
ing practical show card brush lettering suitable for 
all purposes. All orders promptly filled. 

Remit by draft, registered letter, post office or 
express money order. Address 

W. A. THOMPSON, 

16 East Huron St., Dept S., Pontiac, Mich. 



THE SPATULA SIGN-MAKING OUTFIT 




^ Ji^oio. ) (Wo. iv,. fcf" (^p^ m ME^ky Q Koi ) ( w "^« 



The outfit contains everything that is essetial for the 
making of all kinds of card signs for use on the counter, in 
the window, etc. It has not heretofore been possible to 
buy an outfit of this kind. Every article is of the best 
manufactured and is warranted. The outfit consists of the 
following articles, which may be purchased separately if 
desired, at the prices quoted. 

l No. 3 Shading Pen 50 35 

1 No. 3 Maeking Pln 35 

2 Doz. Round Writing Pens (various 

sizes 35 

1 Ink Reservoir 05 

1 Nhree Pointed Pen (No. 400) 10 

*1 Book of Instructions 25 

4 Fitch and Sable Brushes 40 

1 Bottle Special Black Ink "Letterine" .25 
1 Bottle Special Red Ink "Letterine" :ir> 

1 Bottle Special Blue Ink 25 

1 Bottle Gold Sizing 25 

1 Package Gold Bronze 10 

1 Sample Sign 10 

5 Doz. Prepared Bristol Board (i.e. 

faintly ruled. If sent separately, postage 

20 cents extra) .75 

£3.80 

Entire Outfit, EXPRESS PREPAID, $2.50. 

*A complete treatise on sign work. Tells about colors 
and Ornamental work, Bronzes, Flourishes. How to paint 
signs on windows, to letter glass and mirrors. How to 
make off-hand signs with a brush. How to draw borders 
and circles. How to mix colors, etc., etc. 

Entire outfit express prepaid to any part ■* "*^ 
of Great Britain, including her colonies, for * **»• 

SPATULA PUBLISHING CO., Boston, Mass. 



THE SPATULA JUNIOR SIGN OUTFIT 




In this outfit are the most necessary tools for 
making handsome and attractive show cards for 
store windows, show cases and counters. In it 
are the following : 



One Marking Pen No. 3. 

Three Good Brushes. 

One Shading Pen No. 3. 

One dozen SoennecKer's 

Round Writing' pens eleven 
different sizes. 

The entire outfit is packed in a neat slide box 
and is sent by mail postpaid to any address i 
the world for #1.25 (Foreign 5/6 ) 

Spatula Publishing Co., 
Boston, Mass. 



=1000 = 

WAYS and SCHEMES 

TO 

ATTRACT 
TRADE 




Gathered from Actual 
Experiences of Suc- 
cessful Merchants. 



THERE has never before been published anywhere 
in the world a book like this. It gives without any 
superfluous verbiage descriptions of over 1000 ideas 
and schemes that have Deen tried by successful retail 
merchants to bring people to their stores and to sell 
goods. If you try a new scheme every day, there will be 
in the book enough separate suggestions to last you nearly 
three years without repeating a single one. The book is 
the result of slow and careful observation by trained 
writers extending over a period of more than five years. 
It is handsomely illustrated with half-tone and line 
engravings, among which are full page beauty pictures 
from original photographs of many of the handsomest 
women in the world. In one of the chapters are a large 
number of simple illustrated puzzles or brain teasers. 
In the collection are probably dozens of schemes and 
ideas which have turned losing businesses into profitable 
ones. They have been worth dollars to others and they 
are worth money to you. 

ITS PRICE, ONLY $1.00, POSTPAID. 

Send in your order to-day. 
using: the coupon on page 6. 



SPATULA PUBLISHING CO., Boston, Mass. 



LIBRARY OF CONGRESS 



013 963 955 8 



